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= University Ceremonies Room = The University Ceremonies Room is the former hacienda chapel in the Chapingo Autonomous University. The estate was seized by the Mexican government during the Mexican Revolution and was given to the brand new National School of Agriculture to become a university. When Ramón Denegri became minister of the Agriculture and Economic Development in 1923, he hired Diego Rivera to paint the murals of the chapel and other buildings on campus. Rivera painted the walls of the chapel, split into 9 distinct sections. The entire chapel spanned 347.5m2 and is split into two sections for to tell two different stories of Mexico. Each section is a separate fresco with a name and a piece of the story. These panels have a common theme of government, oppression, fertility, and sacrifice from the war. On the former altar wall is the largest and most prominent painting called Liberated Earth with Natural Forces Controlled by Man. This final panel is a giant portrait of Rivera's second wife, Guadalupe Marín. There are thirty three total panels on the wall.

Liberated Earth with Natural Forces Controlled by Man
Liberated Earth with Natural Forces Controlled by Man (also known as Fertile Earth) is the largest mural at the end of the chapel behind the altar. The mural itself is roughly 7 meters tall and 6 meters wide and spans the entire back wall. This was the first of the murals to be painted in the chapel. Rivera used his second wife Marín as the model for this mural, shortly before she gave birth to their daughter, Guadalupe Rivera, in 1924.

In the woman's right hand, she holds the same seed as in The Sleeping Earth, but in this mural it sprouts a cocoon. The woman's left hand is extended upwards, as a symbol of peace and harmony throughout Mexico after the Revolution. She is surrounded by natural forces of nature: fire, wind, and water. A few human workers are underneath her, harnessing the natural elements. The air and the fire come from supernatural beings, being wind and underground craters.

The Sleeping Earth
Tina Modotti, a female Italian photographer and actor, was the model for this particular mural. This mural is in the arch of the doorway that is to the immediate left of visitors to the chapel. This mural shows a woman who is asleep, laying on her right side. Art critics believe that this woman is a representation of Mexico. In her right hand, she protects a plant sprout as it begins to grow. This plant could symbolize the Mexican Revolution.

Reactionary Forces
This mural spans the upper portion of the left chapel wall. It depicts a large nude woman facing away from the viewer who is surrounded by three figures. One of these figures shows a fat, greedy, power-hungry capitalist with a scornful look on his face. The second figure is a strange looking soldier wearing a gas mask and wielding weapons in each hand. The final figure is a sly, arrogant looking priest, facing away. Each of these figures depicts a problem that is plaguing Mexico, with the woman representing Mexico itself.

Birth of Class Consciousness
This wide mural spans wall next to Formation of Revolutionary Leadership. It depicts several workers as well as a few animals. Three miners (shown on the right) work to dig a tunnel toward the surface, where the other group of people are. The left side of the painting shows workers discussing the work that is going on in the mine, perhaps discussing the oppression of the workers down in the mine shafts. Several hold hammers and chisels while others stand and watch.

Formation of Revolutionary Leadership
Another of the murals symbolizing the oppression of the peasant class in Mexico, this particular painting depicts a lot of human forms. A plantation owner rides his horse with fancy clothes, wielding a rifle with his foreman wielding a whip. The workers' faces are hidden. One worker to the side of the painting has his arms in the air, as if he is being crucified. The other workers look at the aggression from the landowner while continuing with their duties.

Underground Organization of the Agrarian Movement
This panel is the first of a three panel story that tells the tale of the state of affairs in Mexico. This panel features a few human figures all conversing about current events. This panel expresses a need to change the current social government in order to work correctly. The man in blue is explaining to the group of people about the state of their circumstances.

Continuous Renewal of Revolutionary Struggle
Being the second mural in the trilogy of the revolution, this mural tells a story about the struggle to achieve common good. Above this painting is a fist that Rivera painted, symbolizing the violent attitude of the lower class. The mural itself has several figures, with three women weeping over the corpse of a peasant, presumably a friend. People surround the body and the women, for a funeral procession.

Triumph of Revolution
The final mural in the revolutionary trilogy depicts the reoccurring worker, soldier, and peasant. All three of these men are looking somber, while all three of them hold bowls of food. A family of peasants kneels at their feet, looking up to the three figures. The soldier, peasant, and worker hand out food to these peasants who are most likely poor and hungry from the ending of the revolution. This painting shows the state in which the Mexican economy was after the war had ended.

Blood of the Martyrs
The image depicts a cross section of a corn field, with the underground visible. Below the surface, the corpses of Emiliano Zapata and Otilio Monaño lay wrapped in red cloth. These dead men buried underground have a distinct symbolism to them: their losses in the revolution had not been in vain. As their bodies will fertilize the corn in the fields, their inspiration will inspire the people of Mexico.

Emergent Man
This mural is placed high on the wall above the entrance door to the chapel. This mural depicts a single naked man, whose body belongs to Pablo O'Higgins, who volunteered to model for this particular painting. The Emergent Man is surrounded in fire, and seems to be lifting the weight of the world with his arms in what seems to be the shape of a cross. This painting is one of the two male nudes found in the chapel.

Subterranean Force
The three naked women, engulfed in flames, each represent a stage of human development until they become like the centered one; fully matured. One of the women kneels at the feet of the matured woman, with her back to the viewer so that you can only see her hair and the back of her head. this mural could be seen as a symbol of maturation for the Mexican economy.

Germination
Focusing on four female figures, this mural shows the underground forces of the growing Mexican economy. Rivera takes full advantage of the windows on this wall of the chapel. He uses them not only for a light source, but to enhance his round figures in each of these four murals. The center and main woman in this portrait is once again modeled by Tina Modotti.

Maturation
Rivera used highly sexual designs when painting his murals. This painting in particular shows four more nude women, surrounding and gesturing toward a phallic shaped plant. The plant shown is actually the window of the chapel that Rivera skillfully integrated into this mural. One of the women is holding a flower, but all of them have their hands extended in some way towards the plant.

The Abundant Earth
The growth process of the plant shown in Germination and Maturation and is finally ready to bear fruit in the third and final panel of the right side wall of the chapel. Each of the reoccurring women now have a fruit, and they seem to be much happier surrounding the tree. This mural focuses much less on the sexuality of the painting but more about the growth and maturation of the tree itself, and the nutrition it brings with its fruit.